“Slaying in Suburbia: An Interactive Murder Mystery”
Created by Project AlienCat.
Written and Directed by Malika Pharand, Alicia Magliocco and Neusha Taherian.
Presented during the 2018 Montreal St-Ambroise Fringe Festival.
Run: June 7-17, 2018
Rehearsals: April – June

AUDITIONS
When: Wednesday February 21st, 7pm-9pm OR Saturday February 24th, 9am-11am
You MUST be available for the full 2 hour block.

What:
Group auditions for an ensemble-oriented play.
Improv-heavy.
Includes mask work (experience is an asset, but not required).
Profit share production.

Prepare:
One to two minute comedic monologue.
MUST be between ages 18-106.
Performers of all ethno-cultural backgrounds and body types are strongly encouraged to audition.
We are accepting submissions from both union and non-union actors.

Montreal, February 14, 2018 – Just in time for Valentine’s Day, Repercussion Theatre announces its 2018 Shakespeare-in-the-Park selection, Romeo and Juliet, which will tour Montreal and area parks from July 5th to August 8th, 2018. To commemorate the company’s 30th anniversary, two additional and very special events will also be held in the fall.

“Romeo and Juliet is a beautiful, tragic tale of young people galloping full speed towards love, in a world calcified by hate. That feels pretty necessary right now”, said Repercussion Artistic Director, Amanda Kellock. And in this production, Romeo and Juliet will not be a heterosexual couple. The company’s aim has always been to ‘hold a mirror up to nature’, to use classical theatre to reflect contemporary life and encourage dialogue. “We’re reimagining Romeo and Juliet through an expanded, more inclusive lens in order to celebrate our collective diversity and affirm that love is love is love.” After the company’s 2016 all-female Julius Caesar and given their ongoing commitment to cultural diversity and gender parity, Shakespeare-in-the-Park fans are assured of another unique Repercussion/Kellock treatment of this classic tale of star-crossed lovers.

Assisted by Shanti Gonzales, Ms. Kellock will direct ten dynamic performers, each of whom will assume multiple roles. Ana Cappelluto (herself a descendant of the Capulets!) will design the set and lighting, Sophie El-Assaad the costumes, and Gitanjali Jain will be the Voice and Soundscape Coach for the live music portions of the production.

To mark Repercussion’s three-decade milestone, two new Shakespeare-inspired plays were commissioned, in collaboration with Playwrights’ Workshop Montreal. Public readings of the two plays will be in November 2018, (exact dates and location TBD) and in customary Repercussion accessibility style, tickets will be available on a Pay-What-You-Decide basis.

Erin Shields, who won the Governor General’s Award for If We Were Birds, is currently working on her play, Thy Woman’s Weeds, exploring how women in theatre navigate their relationship with Shakespeare. Ms. Shields says,”It’s about the actors, directors, technicians, and designers who create Shakespearean productions and the audiences that come to watch them. The story is driven by a chorus of women asking ‘Why do it? If we do it, how do we do it? How do we deal with the inherent gender discrepancies’? The chorus invokes scenes in different parts of the theatre, during all parts of the production process: a rehearsal hall, a dressing room, in the audience, and in the play itself.”

Musician, playwright, and former Repercussion actor (2010 and 2012), Jeff Ho, and his new play, whisper, is the second commissioned script. It is inspired by his experience of learning English after arriving in Canada at the age of twelve. “My mother quickly put my brother and me into ESL classes; it was a monumental adjustment from life in Hong Kong. To ease the transition, and to the credit of my ESL teacher, he taught us songs, poetry, and urged us to recite passages of Shakespeare’s sonnets, so we could understand the musicality, rhythms and cadences of the English language and appreciate the English tongue through beauty, not memorization.” whisper also employs a chorus, but in the form of a group of immigrants. Hailing from various countries where English is not spoken, they meet in a peer-guided Adult ESL course in Montreal.

Romeo and Juliet details will follow at a public season launch/birthday party in April (date and venue info to follow), and more information about the public play readings will be distributed in the autumn of 2018.

]]>http://montrealtheatrehub.com/2018/02/13/call-for-play-submissions-teesri-duniya-now-accepting-proposals-from-emerging-and-established-playwrights/feed/015015Canada Council for the Arts hosts information session for its “Explore and Create” funding program for theatre artists and companies on March 16th http://montrealtheatrehub.com/2018/02/12/canada-council-for-the-arts-hosts-information-session-for-its-explore-and-create-funding-program-for-montreal-theatre-artists-and-companies-on-march-16th/
http://montrealtheatrehub.com/2018/02/12/canada-council-for-the-arts-hosts-information-session-for-its-explore-and-create-funding-program-for-montreal-theatre-artists-and-companies-on-march-16th/#respondMon, 12 Feb 2018 14:13:15 +0000http://montrealtheatrehub.com/?p=15011[...]]]>

To all Montreal-area Theatre Artists and Theatre Companies (both Francophone and Anglophone):

Matthew Tiffin and Mell Aimé-Cyriaque, Program Officers from the Explore and Create program at Canada Council for the Arts, will be holding an information session on March 16th, 2018, in the Café area at the MAI (Montreal arts interculturels, 3680 Jeanne Mance St, H2X 2K5) from 10:30 am until 1pm. The session will be given in both official languages and will be followed by a Q&A period.

Explore and Create funds Canadian artists, artistic groups and organizations committed to the creation and dissemination of innovative, vibrant and diverse art.

This program advances Canadian artistic practices by encouraging artists to investigate creative processes and take risks that lead to the development of unique works destined to connect with the public.

Explore and Create supports the research, development, creation and production of work, as well as professional development for artists.

Last night, the McGill Savoy Society opened their production of Gilbert & Sulllivan’s Iolanthe, an overabundance of Sullivan’s catchiest tunes, Gilbert’s sharpest wit, and rock-solid physical comedy from an ebullient cast (plus enthusiastic use of a fog machine).

The plot pits a complement of high-spirited fairies against the stuffy members of the House of Lords when the latter interfere in a romance between Strephon, a shepherd, and Phyllis, a highly-desirable ward of court. Strephon is half-fairy (from the waist up) and the fairies take his side out of love for his mother Iolanthe. Disaster ensues for the state of British politics.

It is a great pleasure to report that this show was captivating from start to finish. Visually, it offered a feast for the eye, with attractive sets, fun lighting effects, and stunning costumes. The engagement of the cast, including the chorus members, was impressive. Each peer and fairy sported their own distinct personality, which made watching them worthwhile at all times (hint: even when the main action occurred between leads downstage). Of the generally good soloists, the imperious Fairy Queen (Olivia Barnes), the pompous Lord Mountararat (Michael Loewen), and Strephon (Aaron Meredith) were remarkably entertaining. Aaron Meredith owes part of his success to his natural execution of Coralie Heiler’s delightful choreographies, which animated several of his scenes as well as the chorus.

Phyllis (Hanna Nes) and Strephon (Aaron Meredith). (Photo: Cai Cheng)

This is highly to be recommended as a child-friendly show. There is lots of colour; accessible, lovely music; and enough recognizable character archetypes that the story will be engaging for them. Though Gilbert included a fair amount of adult humour (actually quite shocking for a Victorian) and political satire (which has remained impressively current), it will go over young heads while amusing parents.

Iolanthe plays again on Sat, Feb. 10 at 2 PM & 7:30 PM; Fri, Feb. 16 at 7:30 PM; and Sat, Feb. 17 2 PM & 7:30 PM at Moyse Hall (853 Sherbrooke St. West, McGill downtown campus). Tickets are $25 Regular / $15 Students & Seniors and can be purchased online or at the door. Note that certain roles have alternating cast members. It is worth the trip, even if you think you don’t care for G&S (I usually don’t).

Montreal, February 9, 2018 – Puppets galore descend upon Centaur Theatre as world renowned puppeteer provocateur, Ronnie Burkett, makes his Centaur debut with over 40 hand-crafted marionettes for the Quebec premiere of The Daisy Theatre, playing February 20 to March 24, 2018. Montreal’s Festival de Castelierswill include The Daisy Theatre as part of its programming along with a post-show talkback following the March 8th performance.

This is the 13th production from Ronnie Burkett Theatre of Marionettes, following the international successes of Penny Plain, Billy Twinkle, 10 Days on Earth, Provenance and the “Memory Dress Trilogy” of Tinka’s New Dress, Street of Blood, and Happy. Ronnie Burkett first performed in Montreal at the Festival du Théâtre des Amériques with his production, Tinka’s New Dress and has returned with three subsequent sold-out productions.

“One of the more excellent shows you’ll see this season … maybe ever.” – Calgary Herald

“4½ stars out of 5 […] an examination of the philosophy of life and art and the magic of the theatre” – Lynne Lancaster, Performing Arts Hub, AU

The Daisy Theatre pays homage to the underground puppet shows that Czechoslovakian puppeteers such as the great Josef Skupa were doing during the Nazi occupation. The shows were called ‘daisies’ because folklore at the time believed that a daisy can thrive in the dark. Mr. Burkett “loves the idea that no matter what is happening socially or politically that feels bleak and dark, this simple yet resilient flower can push its way through a crack in the concrete and live. Josef and all those who spoke out through their puppets are all backstage with me when I do a show.”

“Some of the funniest, most brilliant theatre you’ll ever be lucky enough to see.” – The Province, Vancouver

“Funny, touching, and pure genius” – Edmonton Sun

While randomly flipping through the newly bought World Book Encyclopaedias one day at the age of 7, Ronnie Burkett happened upon the page about puppets. Having seen the musical number featuring Bil Baird’s unforgettable goatherd puppets in The Sound of Music, his future became clear. By the time he was 14, his father was driving him to TV gigs as well as school, shopping mall, community centre, and nightclub appearances, and he’s been on the road ever since. In 1986 Ronnie formed the Theatre of Marionettes, playing to critical and public acclaim on most of Canada’s major stages and abroad, generating an unprecedented following for adult puppet theatre and breaking box office records in several Canadian venues.

“What sometimes may escape the acknowledgement of the audience because of the dominant ‘power’ of the marionette personalities is the genuine ‘genius’ – let alone stamina – of Ronnie Burkett himself. He is truly an awesome artist.” – Kevin Jackson’s Theatre Diary, AU

Recognized as one of Canada’s foremost theatre artists, Ronnie Burkett has been credited with creating some of the world’s most elaborate puppetry. He designs and constructs all of his marionettes in a combination of hand-moulded papier maché pulp and hand-carved wood. Defining characteristics of each puppet, such as eye glasses, wrist watches, hats, and shoes, are fastidiously crafted with intricate detail. Though he works on several puppets concurrently, Mr. Burkett approximates that each one takes six weeks to make and an entire show roughly one year to mount, from concept to opening night.

“Biting, poignant, topical and funny.” – Ottawa Citizen

Burkett’s efforts have garnered virtually every significant theatre award in cities across Canada and throughout the world, including an Emmy Award, the Siminovitch Prize, an Obie Award Citation for his Off-Broadway production of Tinka’s New Dress, (which toured internationally for eight years), The Herbert Whittaker Drama Bench Award, and multiple Stirling, Chalmers, Betty Mitchell and Dora Mavor Moore awards for various productions.

In 2015, Mr. Burkett was given a Lieutenant Governor’s Arts Award from the province of Alberta (he grew up in Medicine Hat). In a video created for the event, which highlights his numerous contributions to theatre, Casey Prescott, Banff Centre’s Director of Producing said, “I can’t point to another artist in this country that tells stories the way he [Burkett] tells them, develops characters the way he develops them, balances the darkness and the light within the worlds he creates. It’s unique. I’m sure 100 years from now people are going to look back and say, ‘Remember Ronnie. This was such a profound artist who made such a profound impact.’”

“a bawdy, acerbic puppet show that is ultimately very sweet”– Limelite, Sydney, AU

Considering the 40-strong ‘cast’ on stage, the team behind The Daisy Theatreis small but tight. Dora winner and one of Canada’s premiere Jazz vocalists, John Alcorn, wrote the music and lyrics and designed the sound. The Stage Manager is Crystal Salverda, a theatre veteran with over three decades of experience who, in addition to working with Ronnie on several projects, has collaborated with Rick Miller’s Kidoons Network, Necessary Angel, Canadian Stage, Marquis Entertainment and more.

After presenting Je suis un autre (2012) and Au sein des plus raides vertus (2014), choreographer Catherine Gaudet returns to La Chapelle with Tout qui va revient, a powerful trilogy of solos from her repertoire, which will be interpreted by Clara Furey, Louise Bédard and Sarah Dell’Ava. These three solos are about her ambivalent love/hate relationship to performance. The desire to please and at the same time an angry resentment towards the spectator who looks, waits, hopes to be bewitched, who scrutinizes and watches the enchantment like a flaw.

“Exploring the troubled areas of the psyche and the unconscious, Gaudet stands far – far away – from the miserliness and superficiality. We can only salute the depth and rigor of his work, demanding both for the spectator and for the dancer. ”
– Iris Gagnon-Paradis, LA PRESSE.

“Quebec’s Catherine Gaudet could be the real discovery of this festival, offering us a real […] concentration of existential reflections that also questions choreographic writing.
– Aurélie Mathieu, LYON CAPITALE.

After presenting a limited engagement of the live musical phenomenon The Phantom of the Opera at Place des Arts this past October, Broadway Across Canada and evenko have ferried in another Cameron Mackintosh blockbuster that promises to satiate thirsty Montréal theatregoers.

Coming directly from an acclaimed two-and-a-half-year return to Broadway, the new production of Les Misérables, here directed by Laurence Connor and James Powell, still features the legendary music by Claude-Michel Schönberg and lyrics by Herbert Kretzmer (adapted from the original French text by Alain Boublil and Jean-Marc Natel). This streamlined version of the stage spectacle, however, injects new life into the megahit – a flagship in the canon of musical theatre – with reimagined staging, orchestrations, and scenery.

It’s our third time seeing this particular rendering (after having first witnessed its pre-Broadway tryout in Toronto with Mirvish in 2013, and subsequently in 2015 after its official opening in New York at the Imperial Theatre), and our enthralment has yet to evanish.

Nick Cartell stars as ‘Jean Valjean’ in the new North American touring production of LES MISÉRABLES (Photo: Matthew Murphy)

Based on the 1862 historical novel of the same name by Victor Hugo, “Les Mis” depicts the macro drama of the French Revolution and follows the micro story of Jean Valjean, a man condemned to 19 years of strenuous labour for stealing a loaf of bread to feed his family. Valjean is released from prison and breaks parole to begin a new life as wealthy factory owner and mayor of a town. But, his past continues to haunt him as he finds himself being relentlessly pursued by the righteous Inspector Javert, who is wholly determined to bring the escaped ex-convict to justice.

Seen by more than 70 million people in 44 countries and in 22 languages around the globe, Les Misérables is still breaking box office records everywhere since its London opening in 1985. With 8 Tony Awards and 5 Drama Desk Awards among its accolades, it presently reigns as the world’s longest running musical and 5th longest-running Broadway show of all time. The original stage production most notably spurred the 2012 Academy Award-winning film adaptation starring Hugh Jackman, Russell Crowe and Anne Hathaway, as well as the current North American touring production.

With a memorable score comprising well-known tunes such as “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” and “One Day More,” Les Misérables serves as the ideal gateway show for the musical initiate while indulging longtime consumers of the art form. It may, though, perchance, speak loudest to spectators coming to it relatively fresh (as opposed to those of us who have may been anesthetized, in varying degrees, by 30 years of overexposure to the franchise).

Astute audiences familiar with the original may find it difficult to envisage a staging of the spectacle without Trevor Nunn and John Caird’s iconic revolving set, but Connor and Powell’s devised variant is no less fluid or dynamic than its predecessor, nor is it slighter in scale. The directorial tinkerings are tangible, but they make not a classic offensively unrecognizable to the diehards.

Matt Kinley’s breathtaking scenic elements are enhanced by projected images (realized by Fifty-Nine Prods.) inspired by Hugo’s own paintings of 19th century France, lending a detailed, cinematic feel to the production. Lighting designer Paule Constable imbues the action with caliginous hues and the enriched soundscape by Mick Potter in essence becomes the very landscape of war. Les Mis is decidedly an audiovisual feat and feast, and yet it falters not in overpowering the emotional storyline or overindulging in ostentatious spectacle.

The company of LES MISÉRABLES performs “Master of the House” with J Anthony Crane as ‘Thénardier’ and Allison Guinn as ‘Madame Thénardier.’ (Photo: Matthew Murphy)

Fully sung-thru, Les Misérables carries the risk of feeling like a three-hour marathon in which audiences eventually “hit a wall” (or, perhaps more accurately, a behemothic barricade), experiencing a sudden wave of fatigue from the relentless cavalcade of melodramatic ballad after hymn after anthem. Every number is “big”, it seems, thwarting the piece of a categorical lightness despite intermittent breathings of comic relief (largely provided by the jocular Thénardier couplet).

But, this sterling company and its accompanying live orchestra of fifteen musicians (led by MD/Conductor Brian Eads) hoist the majestic score of Schönberg and Kretzmer to the heights of Salle Wilfrid-Pelletier most triumphantly. The vocal chops are exceptional across the board, making the critical practice of singling out any standout musical moments very nearly inconceivable. A true ensemble piece, Les Mis finds galvanic energy and strength in numbers. Our only grievance is that the acting is uneven and stripped of spontaneous interpretation at points in the narrative (we find it exceedingly common among large scale musical theatre productions that, being the necessarily tightly rehearsed and finely tuned commercial machines that they are, actions read as highly mechanized. Inordinate effort is expended on simply preventing bodies from bumping into each other – you laugh, but it’s accurate. This remains our greatest ongoing gripe with the genre.)

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Peeves aside, the intensity of individual and collective performances never wanes, and thus our hearts and minds at no time are tempted to veer away from the magic taking place centre stage.

In the demanding role of Jean Valjean, Nick Cartell is immaculate, seizing the limelight from the epic onset with his powerful instrument and later fully turning on the waterworks in a poignant rendition of “Bring Him Home”. Josh Davis too in his prowess strikes and stirs as an imperious but tortured Javert, bringing the subliminal to “Stars”. As the ill-fated Fantine, Melissa Mitchell is wholly affecting; “I Dreamed a Dream” is nothing short of chimerical. Joshua Grosso and Jillian Butler are amiable as the young lovers Marius and Cosette, inciting a believable budding romance that you dare to care for. As Éponine, Danielle J. Summons summons (pardon the irresistible wordplay) spunk and spirit. Matt Shingledecker, in his turn, is a charismatic and commanding Enjolras worthy of leadership. J Anthony Crane and Allison Guinn lend their stellar showmanship and comic chops to the Thénardiers to round the superlative cast.

From the arresting first downbeat to the rapturous final crescendo, there is little to fault in this world-class production. Grandiose, beauteous, and heartrending, Les Misérables militantly marches on to transcend generations (and to further solidify its critic-proof status.) It’s a time-tested tale of unrequited love, broken dreams, heroic sacrifice, and moral redemption – but whose themes of revolution and righteousness seem particularly relevant given the current political climate. Incontestably a worthwhile (re)visit to the theatre, if you are so fortuitous to secure a stub to this well-nigh sold out run at Place des Arts.

On Tuesday, February 6th, Festival TransAmériques (FTA) Artistic Director Martin Faucher revealed five more names of the dance and theatre artists who will be raising the level of excitement among spectators attending the 12th edition of the FTA, which will take place in Montreal from May 23 to June 7, 2018.

After his sensational presentation of Roman Tragedies at the FTA in 2010, the announcement last November that Ivo van Hove will return with Kings of War generated a lot of interest – with reason – and continues to do so. Five other shows were announced on Tuesday:

TAO Dance Theater will be presenting a sacred ritual with its double bill 6 & 9. A leading figure in the contemporary avant-garde in China, the choreographer Tao Ye, just 31 years old, will launch this 11th edition with two short works performed respectively by six and nine dancers in minimalist, highly refined style. Distilling movement to its purest essence and magnifying the infinite potential of the human body, Tao Ye’s pieces reflect impressive choreographic research.

Strange hairy beasts will make their appearance this spring at Usine C. Philippe Quesne plunges the spectator into a parallel universe where seven giant moles are the focus of an intriguing theatrical proposal: La nuit des taupes. Festivalgoers appreciated this French director’s delicious absurdity in L’effet de Serge in 2010, and will once again enjoy his unique talent for creating a wordless microcosm in an underground cave that has a whiff of the prehistoric – a strange, fantastic world.

Video Gallery: FTA 2018

An unconventional work about time, death and memory will be offered by two of the most remarkable and respected voices in Quebec theatre: Evelyne de la Chenelière and Marie Brassard. La vie utile marks the end of an extensive writing workshop conducted by Evelyne de la Chenelière during her three-year artistic residency at ESPACE GO. After La fureur de ce que je pense, she is once again working with Marie Brassard and the actors Christine Beaulieu and Sophie Cadieux in this new piece to be presented at Théâtre ESPACE GO starting April 24, with the five final performances co-presented by the FTA.

An artistic and generational shock as only Paul-André Fortier can concoct. The 70-year-old choreographer collaborates with the feisty writer Étienne Lepage in Solo 70, the final show to be produced by his company Fortier Danse-Création. Confronted with the energy of punk guitar played live and the visual environment of Marc Séguin, Fortier’s signature style is more insistent than ever.

To close the Festival, an incredible bolt of energy. None other than the internationally acclaimed Canadian choreographer Crystal Pite will present, in conjunction with the actor, playwright and fellow Vancouverite Jonathon Young, the dance piece Betroffenheit, a powerful work that deals with post-traumatic stress. It has bowled over audiences in some thirty cities, and will conclude its international tour in Montreal.

Individual tickets now on sale
Ticket packages available as of March 20, 2018

Individual tickets to performances can now be purchased online at www.fta.ca, by telephone, at La Vitrine or directly at the box offices of the venues where shows will be presented. Packages for 4, 8 and 12 shows will go on sale during the unveiling of the complete program on March 20, 2018.

On Tuesday, February 20th, 2018 at 5:00 p.m., Black Theatre Workshop will be hosting a free information session for its 2018-2019 AMP – Artist Mentorship Program for performers, directors, designers, and stage managers. Find out more details about the program and get your questions answered.

Program Information

Assessing the needs and goals of each individual artist and serving as a liaison between them and an associated mentor linked to their discipline, accepted artists will work alongside the Artistic Mentorship Program Coordinator throughout the season in scheduled meetings, and will be engaged in intensive workshops led by some of theatreʼs most exceptional professional artists in the community, as well as members of Black Theatre Workshop. Such relationships may garner apprenticeship opportunities for the candidates throughout the course of the mentorship session with Black Theatre Workshop and/or partnering companies. At the end of the session, candidates will participate in an Industry Showcase.

Industry Showcase

Culminating the skills and work from the session, each artist will be invited to be a part of an Industry Showcase where casting agents, directors, engagers and artistic directors will witness their work upfront. Invited guests will be given a package of all artists involved included headshots, CVs and biographical information.

This experience is imperative to the artistʼs process as it gives them an opportunity to share and promote their talent and skill in front of those who will hire them in the future.

Benefits

All artists will receive individual and collective attention in pursuit of deepening their understanding of their discipline with a focus on entering into the professional landscape. In doing this, artists will receive expert training from long-working professionals in specific techniques and areas of interest pertaining to an artist’s professional career. In addition to bi-weekly topic-related meetings, they will be given access to Black Theatre Workshop resources including the script library, private coaching sessions with professional artists from BTW including Artistic Director Quincy Armorer, and invitations to Montreal theatre productions.

Thanks to the generous support from the Department of Canadian Heritage, mentorship artists will be given an honorarium for their participation.

General

Please note that each artist will also come in with a goal of their own in which they wish to achieve. All activities will certainly be adjusted for the candidate in order to ensure the best and most beneficial experience for them in keeping with Black Theatre Workshop professional standards.

Candidate Criteria

Candidates must be actively seeking a professional career in theatre and have education or equivalent experience on a community or professional level. Must be a Canadian citizen or landed immigrant. Artists who are black or identify as being black are strongly encouraged to submit and will be given priority, however candidates from all cultural backgrounds will be respectively considered.